North PolarNorth Polar was created for the Lorne Sculpture Biennale, Lorne, Victoria.

Supermodel (the exhibition)Supermodel is a series of small assemblage sculptures constructed from found plastics, alongside abstract paintings, which are interpretations of these sculptures or 'supermodels'.

Ursa MajorUrsa Major was specifically created for the Melbourne Prize for Urban Sculpture 2014, Federation Square, Melbourne.

2013

Emporium
Louise Paramor: Emporium - A survey exhibition 1990-2013 was held at The Glen Eira City Council Gallery from 27th September to the 3rd November.

Wild CardsThe Wild Card series are a set of assemblages that, alongside industrial and domestic found plastics, incorporate ready-made fibreglass animals.

Noble ApeNoble Ape was specifically created for the exhibition Melbourne Now. The invitation to participate in the show provided an opportunity to produce a large scale Wild Card assemblage.

2012

Panorama StationPanorama Station is a permanent public sculpture commissioned by Southern Way for the Peninsula Link Freeway at the EastLink interchange, Melbourne in 2012.

2011

Six PerfectionsCreated for the ‘Buddha Enlightened 2BE’ , international workshop organised by Delhi based artists Sanjeev Sinha and Dianne Hagen. ‘Buddha Enlightened 2BE’ took place in Bodhgaya, Bihar, India in January 2011.

Stupa CityStupa City is comprised of four sets of works. The starting point is a group of figurative paper collages assembled from the residue of an earlier work (Letters, Lies & Alibis, 2004). The forms of these characters have been increased in scale to form the second set of works, painted onto glass, creating a different sensibility again, where geometric abstraction meets cubist funk.

2010

Top ShelfAward winning piece, created specifically for the McClelland Sculpture
Survey and Award, Victoria.

Mood BombMood Bomb was an exhibition of abstract oil paintings on (the back of) glass. As the title indicates these works were conceived intuitively and the paintings themselves ultimately suggested their own titles. Nellie Castan Gallery, Melbourne.

A Bunch of FlowersA Bunch of Flowers showcased three distinct groups of works: the first of many plastic assemblage Jam Session sculptures; three large bill-board scale Classic Shazzy car/girl collages and several large abstract collage works.

2005

Up She GoesUp She Goes is a 4-minute video loop where the hanging of a large collage work (in pieces) is reversed and sped up, with sound added. Linden – St Kilda Centre for Contemporary Arts, Melbourne

FOREVERYOURSFOREVERYOURS is a series of large collages meticulously assembled using pre-hand-painted gloss paper, which is cut into numerous shapes and then pasted to form images. This imagery comprises a variety of over-scaled interpretations of the Mills and Boon series’ covers.

Off-CutsOff-cuts was an exhibition of the first in a series of abstract collages constructed from the refuse of the FOREVERYOURS series of collages. Künstlerhaus Bethanien, Berlin

2002

The Love ArtistArticulated around the theme of eroticism, The Love Artist presents itself as an installation in three complementary parts. Breitengraser – room for contemporary sculpture, Berlin.

Outback
Heat (rug)Made specifically for the exhibition Elvis Has Just Left the Building, Perth Institute of Contemporary Art , Western Australia and Künstlerhaus Bethanien, Berlin, curated by Boris Kremer.

2001

Heart-OnHeart-On was an exhibition of honey-comb
paper sculptures, found objects and borrowed text, and was created
during a 3-month residency at IASKA

Louise Paramor’s art practice is a study in world-building. Paramor has consistently fabricated an entirely unrealised world, from architectural renderings, to playful pitches for public sculptures, and the characters that inhabit these constructed worlds.
Boomtown, the title of this exhibition, lingers upon the notion of the optimism of the urban sprawl. More often than not we are deluged with reports of concrete jungles, over population, the diminishing lifestyle and values of regional living. Paramor creates a colour-block utopia, occupied with vestiges of primary hues, spirited edifices, unified by a formal constructivist system.

“I just love colour and playing around with it, it makes me feel good. I get a kick out of harmonising colour in conjunction with form. I think if there was more finely tuned colour in the world it would be a better place. There exists a lot of untamed colour in the everyday and to me this is often creates a feeling that is the opposite of uplifting.”

The exhibition consists of 64 small scale sculptures, as well as a suite of constructed works on paper. Each work, three-dimensional or two-dimensional, is treated as a collage. Every component is carefully found, cut, sized, glued, welded, and balanced to become a whole other thing entirely. Paramor leads us through a visual reconditioning, forcing us to review our standardized notions of what something is, what something can be, and what something has been.

The genesis of the Boomtown series grew out of a former body of work titled Jam Sessions in around 2006, utilising contemporary plastic detritus to explore fundamental principles of modernism such as form, color, and spatiality. The vast number of works is itself a tool of intervening viewership, forcing us to wander physically through a mini-scape of would be public totems. Show Court 3, a three day installation of seventy five sculptures strewn across the surface of Rod Laver Arena, was similar. Paramor manipulates us visually and physically.

The works on paper employ a collaging production technique, constructing imagery from paper pre-painted with gloss enamel. The works feature an individual assemblage from the Boomtown series, scaled up and juxtaposed against a background of a single building. These are essentially complete architecturally accurate plans for public sculptures to inhabit Paramor’s fictitious reality.

“I decided it would be interesting to find some model homes or buildings to act as backgrounds for the assemblages to then make 2-dimensional works with....searching around (both physically and on the net) I stumbled across some fantastic real estate images mostly from India and Pakistan...renders of buildings to be built...what appealed to me was a slightly exotic feel these buildings offered, often interestingly coloured and peppered with unusual details”.

Louise Paramor invites us into her own fabricated domain, where colours are coherent and vivid, buildings are unique and non-conformist, where public sculpture exists for the sake of form, colour, line, and levity. There is an inherent optimism at work here, exalting the accomplishments and ingenuity of the urban sprawl and the enforced participation of a shared culture and experience that offers.